UV 2018 Success – Illustrator with a Cape

Deborah Sheehy
Deborah Sheehy

UV 2018 finalist Deborah Sheehy has signed a contract to illustrate a picture book with Starfish Bay Publishers who contacted her after seeing examples of her artwork online. The book is called ‘Ape with a Cape’ (think hairdresser rather than superhero!) and features an array of whimsical fun creatures and is due to be published in 2019.

Deborah is also currently collaborating with a London author on a picture book telling an epic tale of courage and friendship, in which a polar bear cub adventures to the South Pole to reunite with his best friend.  The author had been seeking an illustrator to work with and found Deborah through the 2018 UV Anthology. ‘The Last Iceberg’ is currently under review for publication.

Deborah daily finds herself astonished and delighted at these wonderful opportunities and is deeply grateful to the UV team for the opportunity to be part of the Anthology, as well as their support, sage advice and goodwill.

UV2018 Finalists Announced!

SCBWI British Isles is proud to announce the promising, unpublished writers and illustrators who have been selected from a record number of submissions to be included in Undiscovered Voices 2018.

SCBWI congratulates the following authors and illustrators whose work will be featured in the anthology:

  • Annie Walmsley – Writer
  • Dale Hannah – Writer
  • David Hall – Writer
  • Deborah Sheehy – Illustrator
  • Emily Jones- Illustrator
  • Emma Mason – Writer
  • Hannah Mosley – Illustrator
  • Jacob Turner – Illustrator
  • James Crosland-Mills – Illustrator
  • Janet Catherine Gibson Pickering – Illustrator
  • Kate Read – Illustrator
  • Kathryn Kettle – Writer
  • Katie Hayoz – Writer
  • Laure Allain – Illustrator
  • Matthew Olson-Roy – Writer
  • Monika Baum – Illustrator
  • Nicola Penfold – Writer
  • Peta Freestone – Writer
  • Rachel Lovatt – Illustrator
  • Sally Walker – Illustrator
  • Sandy Horsley – Illustrator
  • Sarah Merrett – Writer
  • Serena Patel – Writer

The Undiscovered Voices anthology is available to download for free from www.undiscoveredvoices.com. A printed copy of the anthology also will be available to purchase from Lulu: http://www.lulu.com/shop/scbwi/undiscovered-voices-2018/paperback/product-23456467.html

The stories and illustrations were submitted anonymously and selected by a distinguished panel of industry experts:

UV 2018’s Judges:

  • Chrissie Boehm, Artful Doodlers
  • Claire Cartey, Holroyde Cartey
  • Erzsi Deak, Hen & Ink Literary Studio
  • Lauren Fortune, Scholastic
  • Clelia Gore, Martin Literary Management
  • Andrea Kearney, Bloomsbury Publishing
  • Sarah Leonard, Orchard Books
  • Joanna Moult, Skylark Literary Agency
  • Polly Nolan, The Greenhouse Literary Agency
  • Gillie Russell, Aitken Alexander Associates
  • Hannah Sheppard, DHH Literary Agency
  • Kirsty Stansfield, Nosy Crow
  • Will Steele, Usborne Books
  • Nghiem Ta, Walker Books

Because the anthology is also designed to be a learning tool for up-and-coming children’s writers and artists, quotes from the judges – discussing the merits of each piece – are included at the end of each illustration and extract.

Working Partners Ltd, a London-based company that creates series fiction for children and teens, provided the financial support that made this anthology possible.

Congratulations to this year’s Undiscovered Voices writers and illustrators!

Before You Click Submit, Part 4 – Hunting Mistakes

As we get closer to the opening of UV submissions, we’re posting tips to make sure your submission stands the best chance of making it into the anthology.

In this post, we’re looking at a great way to scrutinise your text, some commons errors and few pet peeves that can let your extract down.

No Place to Hide – Paragraph Swap Around

UV Founder and Author Sara Grant suggests reading your extract out of order. First switch the pages around and read them out of order. Next read the paragraphs out of order.

“It’s surprising what you’ll find when you scrutinize pages and then paragraphs out of context and individually,” she says. “You start considering if every line, word and punctuation mark is correct. Also you may spot words, phrases or ideas you overuse reading in this mixed-up fashion.”

Just make sure your paragraphs are in the right order when you submit.

Find-and-Replace Mistakes

Rosie Best (UV 2012)

Author and Working Partner’s editor, Rosie Best, warns about the sort of errors that come with using ‘find-and-replace’ on the manuscript. “We all use it,” Rosie says, “But you need to check the results for consistency.”

Make sure find-and-replace has caught every version of the word – some find-and-replace software misses out possessive versions of words, or where a different grammatical agreement has been used.

“A common error is when find-and-replace makes a change inside another word entirely. If you’ve changed a character name from Rose to Emily, you may end up with a sentence like this ‘in the morning, Ben aEmily from his bed’.”

“Also double check that you’ve also deleted any obsolete references that may be left over from previous drafts,” Rosie adds. “It can be surprising how many can survive repeated edits.”

Pet Peeves and Common Errors

“We all have writing ticks,” says Benjamin Scott, committee member and creative writing tutor. “Whether it’s a sentence structure we tend to favourite, a set of words we always reach for first, or, some stock dialogue. It feels comfortable to use, but often leads to wordy, untidy writing.”

A good critique partner (or editor) will point these ticks out to you, but there are plenty web-based editing tools (like http://editminion.com/) that use algorithms to suggest potentially useful edits to your text.

Keep looking for ways to tighten your writing and search the web for common errors to avoid. Here are some of our favourite pitfalls to dodge (thanks to Sara Grant):

  • Unnecessary word repeated in short space, or over-usage in the whole piece.
  • Unnecessary phrases – i.e. his heart thumped in his chest, nodded his head, imagined in his mind, blinked his eyes, actual facts, at this moment in time
  • Main character or narrator thinking too many questions in quick succession – i.e. What was he thinking? What could he do? What did it all mean?
  • Not trusting yourself as a writer and not trusting your readers by showing and telling your reader something – i.e. My hands began to sweat. Fear fizzled in my stomach. My eyes widened in surprise. I was scared.
  • Too many competing metaphors or similes in close proximity to each other. Let your best metaphors and similes breathe.
  • Appropriate level of description – avoid either too much or not enough. Tell your readers what they need to know to picture a scene and understand the action.
  • Too specific action that proves unimportant – i.e. He picked up the knife with his left hand and turned counterclockwise.

And, finally, watch out for tenses – nothing is more disruptive that an unexpected and unintentional shift in tense!

Stay tuned for our final tips, coming tomorrow. Submissions for UV2018 will open this Saturday (1st July 2017) and will close 15th August 2017. Why not sign up here for submission reminders?

Before You Click Submit, Part 3 – Eight Ways to Make Sure Your Submission Hits the Mark

As we get closer to the opening of UV submissions, we’re posting tips to make sure your submission stands the best chance of making it into the anthology.

Eight Ways to Make Sure Your Submission Hits the Mark

Shine by Candy Gourlay

Award-winning author and one of the first UV finalists Candy Gourlay has kindly given us eight incredible and direct tips to make sure your submission is ready to wow our judges:

Tip 1: Intrigue starts with your first chapter. No explanations. Make your reader desperate to find out what happens next.

Tip 2: Voice. Everyone talks about looking for a voice. Voice only happens when your characters have come alive. How do you do that? Inhabit your character and build the plot from within.

Tip 3. Setting is context AND character, not information. Stop describing and start characterising. If your setting is alive, your reader will read on.

Tip 4. Cause and effect. If cause and effect is not happening then your chapter is static and your reader has probably died of boredom.

Tip 5. Don’t be anxious to make sure that your reader understands your story in the first three chapters. First chapters intrigue and lead your reader on. They are not there to explain. Trust the judges – they are reading a LOT of first chapters and I’ll bet a lot of them are explaining rather than exciting.

Tip 6. Select the eggs you’re going to offer in the basket. YOU DON’T HAVE TO PUT EVERYTHING INTO THE FIRST CHAPTER. You are more likely to engage a reader with a choice selection.

Tip 7. Make sure you identify WHO you’re writing for and that your sample is appropriate to your target readership. Oh, and here’s a guess … most people submitting will probably be writing YA. Ask yourself, is this the one that will help me stand out in the herd?

When you are editing down your chapter samples, don’t cut for word number, cut for MEANING and DRAMA.

Tip 8. When you are editing down your chapter samples, don’t cut for word number, cut for MEANING and DRAMA. I know so many people who edit down without realising that they are losing the deliciousness of their writing. This means you will have to be wise and practical about choosing what you winnow out of your text.

Check back soon for more top writing tips before you submit.


Candy Gourley was a finalist in UV2008. She has been a journalist, press photographer, web designer, short film maker, radio presenter (well, once) and fake American accent voice talent. She once helped overthrow a dictator (with several million other people). She has now forsworn revolutionary activity to become a children’s author. She is the award-winning author of Tall Story and Shine.  www.candygourlay.com

Getting Ready for UV2018 – Guest Blog with Sophie Cameron

In our sixth guest blog by a past finalist, Sophie Cameron (UV2016), whose novel Out of the Blue will be published next year, talks about the power of thinking yourself as a writer. 

Masterclass Breakthrough

Just over two years ago, I went to a masterclass on writing young adult fiction with Juno Dawson. The class was brilliant and Juno gave us lots of great tips, but one in particular stood out to me: think of yourself as a writer. If you write, regardless of whether or not you’ve been published, that’s what you are – not an “aspiring writer” or a “wannabe writer”, a writer. (Juno no doubt put it more eloquently than I have, but you get the gist.)

It’s pretty simple advice, but it really changed my outlook on writing. Before, I’d been someone who enjoyed writing, someone who’d done writing courses and workshops, someone who hoped to one day be published… but not a writer. Once I started thinking of myself as such, I began to take my writing more seriously. I got into a routine and started viewing it as a responsibility, just like my day job.

Entering UV

A month or so after that masterclass, I sent the first chapters of my YA novel Out of the Blue to Undiscovered Voices. I’d started writing the manuscript just a few months beforehand so at that stage it was only a very rough first draft, with lots of gaps and plot holes to be filled in. In the time between submission and the longlist announcement, I stayed focused and worked on properly finishing the novel and improving it as much as a could – not because I thought I had much chance of being selected, but because that’s just what writers do.

Even having a complete, polished manuscript to my name felt like a huge achievement.

Even having a complete, polished manuscript to my name felt like a huge achievement. Until then I’d always reach twenty or thirty thousand words, hit a wall, then get distracted by a shiny new idea and start over. I spent years stuck in this cycle, but once I decided I was a writer, finishing felt like something I had to do; it gave me a focus and drive that I’d never had before.

To my amazement, I made the Undiscovered Voices shortlist in December 2015.

The next few months were incredible: I got lots of requests to read the full manuscript from agents and editors, several of whom I met while I was in London for the Undiscovered Voices launch party last February, and ended up with multiple offers of representation. I signed with my brilliant agent Hellie Ogden last March, she sold Out of the Blue to Macmillan Children’s Books in October, and it’s now due to be published in spring 2018 – something that still hasn’t quite sunk in!

I was so lucky to be included in UV, and I know not everyone has such a quick or straighforward route to publication. But thinking of yourself as a writer, as someone who is serious and professional about what they do, can only help – especially if, like me, you’ve had trouble sticking to projects in the past. It doesn’t matter how long you’ve been writing or what stage in your career you’re at: if you write, you’re a writer. Don’t be afraid to think of yourself as such.

Submissions for UV2018 will open this Saturday (1st July 2017) and will close 15th August 2017. Why not sign up here for a reminder when submissions open?


Sophie Cameron is a YA writer from the Highlands of Scotland. Her first novel Out of the Blue was featured in Undiscovered Voices 2016 and will be published by Macmillan Children’s Books in 2018. She currently lives in Spain, where she works as an editor for an events magazine, and is writing her second novel. 

Win Win Win with UV2018!

Submissions for the next Undiscovered Voices open on Saturday! To celebrate, UV founder Sara Grant is giving away books this week. It’s her chance to support her fellow Undiscovered Voices writers and indy bookshops. Follow her on Twitter @AuthorSaraGrant for details and a chance to win books from Imogen White, Simon James Green, Dave Cousins, Kate Scott, Katie Dale, Claire Fayers, Candy Gourlay, Jane Hardstaff, Sarwat Chadda, Jane Benson McLoughlin & Shirley McMillan.

Undiscovered Voices helped launch the careers of 37+ writers with more than 200 books sold worldwide. We can’t wait to see who we will discover next!

Tonight, Monday 26th June, Sara Grant, Benjamin Scott, and Loretta Schauer will be taking questions as part of a live chat from 8pm to 9 p.m. for any last minute Undiscovered Voices questions.

Getting Ready for UV2018 – Guest Blog with Kate Scott

In our fifth guest blog by a past finalist, Kate Scott, who was featured in the first UV anthology back in 2008, talks about saying yes to changes and inspiration. 

The Magic of Saying Yes

I have a good friend who has taken improv classes for years (‘improv’ being the obligatory shortening of ‘improvisation’ – those extra three syllables being presumably too taxing [or uncool] for those who have been initiated into the process’s dark arts).

As I understand it, taking improv classes involves being willing to writhe on the floor, stick chewing gum in your ear, or arrange chairs into endless representations of impromptu and entirely imaginary cars, airplanes or art sculptures. I am not brave enough to undertake any of those actions (On stage? With witnesses? The horror!) but there is one thing about improv that I do understand and try to emulate.

The one rule when improvising is that you say ‘yes’. Yes to all possibilities. Yes to all avenues. It’s essentially acting out the words ‘why not?’ (It’s also related to perhaps the most basic building blocks of storytelling, the ‘what if?’)

It was ‘why not’ that led me to enter the very first Undiscovered Voices competition.

I said ‘yes’ even though I had no idea (and no confidence) that entering my three chapters would get me anywhere. Where it got me was the most important ‘yes’ of my writing career to date – an inclusion in the Undiscovered Voices anthology. That in turn led to other yes’s (along with many, many no’s). That one yes is the main reason I (eventually) became a published author and a full-time writer.

Where it got me was the most important ‘yes’ of my writing career to date – an inclusion in the Undiscovered Voices anthology.

Holding ‘yes’, or at least, ‘why not?’ in your mind is also helpful when it comes to the editorial process. It particularly comes into its own when someone makes a radical suggestion about changing your story.

Your first instinct might be to say something along the lines of ‘You think I should give my superhero protagonist a flying-dog sidekick with a flatulence problem? You great, galumphing fool!’

But if you give it time and an open mind sometimes you’ll discover that you agree with them – and that they’ve just helped you to make an enormous improvement to your work. (Note: sometimes the suggestion is just that of a great, galumphing fool though. Not everyone likes flatulence in stories, even coming from a flying-dog sidekick.)

You don’t have to writhe on the floor or stick chewing gum in your ear to become a good writer – but you do have to say ‘why not’.

You don’t have to writhe on the floor or stick chewing gum in your ear to become a good writer – but you do have to say ‘why not’. You do have to take a chance on yourself. So take your writing, believe in it, and enter the UV2018 competition. Say yes. Because you never know, they might say yes too.

Submissions for UV2018 will open on 1st July 2017 and will close 15th August 2017. Why not sign up here for a reminder when submissions open?


 

Kate Scott has written over 25 children’s books (trade fiction, educational fiction and non-fiction) and over forty children’s television scripts. She is also a script editor and consultant for children’s film and television; a published/broadcast poet; and a playwright. Spies in Disguise: Boy in Tights won a Lancashire Fantastic Book Award in 2015. Her latest children’s book, Giant, has been longlisted/nominated for two awards. Another standalone novel, Just Jack, comes out in 2018.

Agents: Eve White at Eve White Literary Agency (Books) and Jean Kitson at Kitson Press Associates (Scriptwriting)

Websites: www.evewhite.co.uk and www.kitsonpress.co.uk/

Twitter: @KateScottWriter

 

Getting Ready for UV2018 – Guest Blog with Katrina Charman

In our fourth guest blog by a past finalist, Katrina Charman, who was featured in the UV2014 anthology, talks about her UV experience.

Take a Chance

When I sat down to write this blog post I had part of an Abba song repeating in my head – Take a chance, take a chance, take a ch, ch, chance chance. I don’t even like Abba that much, but the point is that when I entered Undiscovered Voices 2014, I honestly didn’t think I had much of a chance. But if you don’t try you don’t get, right?

So I polished up my submission as best I could and sent it off and then went on to my next WIP to stop me from agonising about all of the mistakes I might have made or thoughts of should I have edited more, or changed the opening . . . and on and on.

Then I got THE CALL from the lovely Sara Grant, saying that I was one of the finalists and I honestly couldn’t believe it. Things moved very swiftly from the UV14 launch party to being offered representation from multiple agents and then signing with my fabulous agent Gemma Cooper at The Bent Agency.

But it was not all smooth sailing from there. My entry into the competition, a YA, went out on submission and it didn’t sell. I could have let it get to me (and believe me it hurt) but after a few weeks of feeling sorry for myself, I worked on something else.

Inspired by a workshop run at my agent’s writing retreat, and by my fellow Team Cooper writers, I wrote something completely new and different to my usual YA.

A picture book.

It sold at auction to Bloomsbury and is going to be illustrated by the inimitable Nick Sherratt. This spurred me on to try genres that I had never written in before and to write for different age groups, so I wrote another book – an early reader, and it sold. So I wrote something different, and when it didn’t sell, I wrote something else. Since Undiscovered Voices 2014, I have contracts for 15 books and counting. I am now able to write full time because of the opportunities that the SCBWI and Undiscovered Voices created.

If there is one piece of advice that I can give any aspiring writer or illustrator thinking of entering Undiscovered Voices (and you absolutely should!), it is to keep going. Don’t give up.

I’ve heard a lot of people say that writing is less about talent and more about luck and perseverance. If there is one piece of advice that I can give any aspiring writer or illustrator thinking of entering Undiscovered Voices (and you absolutely should!), it is to keep going. You will get rejections, over and over again. But don’t give up. Try something new – a different genre, age group, a poem. You never know what is going to get you there. Take every opportunity that comes your way, even if you think you have no chance.

You never know where it might lead you.

Take a chance*.

(*Apologies for the earworm!)


Katrina Charman is the author of eleven published books including The Ninjabread Man (Franklin Watts). Poppy’s Place series (Stripes), The Firehawk series (Scholastic) and two picture books to be announced. She lives in the middle of nowhere with her husband and three daughters. In 2013 she was a recipient of the SCBWI BI Margaret Carey scholarship and is lucky enough to be represented by super agent Gemma Cooper at The Bent Agency.

 

Submissions for UV2018 will open on 1st July 2017 and will close 15th August 2017. Why not sign up here for a reminder when submissions open?

 

Getting Ready for UV2018 – Guest Blog with Jane Hardstaff

In the third of a series of guest blog by past finalists, Jane Hardstaff, talks about the twisty-turny route to becoming a published author, and almost not entering Undiscovered Voices 2012!

When I was sixteen years old, I had a weekend job as a waitress in a hotel in the small market town where we lived. The hotel restaurant was the place you ate if you were old-school posh. It had a veneer of class (avocado vinaigrette, Dover sole and grouse in season), but underneath it was kind-of seedy with many unpleasant tasks for a waitress. It was my job to pick the flies out of the vinaigrette with a teaspoon. To descend to the creepy cold store, always worried I’d lock myself in. To clean up after the very hairy hotel dog. Every Friday and Saturday night, I’d arrive home stinking of grease and cigar smoke and I guess you could say this was a pretty uninspiring job. I wasn’t being mentored on some amazing internship. I was hiding from the sleazeball barman and developing an addiction to prawn cocktail.

At sixteen years old I had no particular ambition to be a writer. All I knew was I didn’t want to be a waitress. Fast forward a couple of decades. I’d travelled a twisty-turny route through several jobs, discovering along the way that the one thing that made me happy (and also weirdly unhappy) was writing.

If you are wondering (as I did) whether to enter Undiscovered Voices, then you probably should.

What has any of this got to do with Undiscovered Voices? I guess what I want to say is, it can take a long time to find your voice. And it can take just as long to pluck up the courage to get it out there. If you are wondering (as I did) whether to enter Undiscovered Voices, then you probably should. You are probably your own worst critic. Enter, because you have nothing to lose. And if you’re not longlisted, keep going. Write a better book. Write the book only you can write.

It may take half a lifetime to get there, but it will be worth it.

 


The Executioner's Daughter
The Executioner’s Daughter by Jane Hardstaff

Jane Hardstaff (UV 2012) is the author of The Executioner’s Daughter and River Daughter (published by Egmont UK and Lerner Books USA). Longlisted for the Branford Boase, winner of the Salisbury Schools Book Award and selected for USBBY Outstanding International Books List 2017.

 

Submissions for UV2018 will open on 1st July 2017 and will close 15th August 2017. Why not sign up here for a reminder when submissions open?

UV Finalists Coming to the Big Screen

The Extincts by Veronica Cossanteli

We’re delighted to hear that UV2012 finalist Veronica Cossanteli is having her book The Extincts adapted into an animated film to be directed by William Joyce. David Lipman (producer of Shrek 2) will adapt the project for the big screen, with Oscar-winning filmmaker and author/illustrator William “Bill” Joyce helming.

You can find out more in this article from the Hollywood Reporter.